We need a get together and see everyone's basses and hear everyone play and I am sure all these misunderstandings will go away. Also a soundcloud or you tube page can help but we do like to keep our anonimity. That is why it is called talk bass, everyone want to b acknowlege and their opinions matter.
If it matters no pun intended, I hear Y'all and your opinion does matter, I may not agree on it from reading typed words but I probably will IRL.
One of the former employees of Fodera who helped them set up their Plek machines lives in Albuquerque, in fact he gtre up here. He laso workef for G&L. I almost bought a guitar from him but bailed. He know works for the government or a contractor something like that. He has a few Fodera prototypes but best not to talk about it but let me just say if you think what they sell is complicated and fancy, what he showed me blows those.
My good friend up north who has gifted me some gear has 2 Foderas 5 string fretted and fretless. I do have say that his F-Basses sounds and plays better .
But in terms of a singular great tone, he has a 70's P bass that has been artsyfied ( my term ) with some paintings on the body blew me away. I believe it was a Fender precision neck and electronics are all stock. And this is after playing his high end basses. The passive or center detent settings on those basses -- all they had on them was more gain but gain matched, this jazz bass was just the right balance and tone. I can't explain why ,
The moment you sculpted a tone out of the Foderas and Fs with their superb active EQ - you just know that they are going through an EQ when you listen t this jazz bass Maybe because it is familiar or what, I am not sure. I think this is the case of less is more,
My luthier friend explained it to me that it is an interplay of damping and resonance and sometimes these simple Fender guitars and basses just hit those combinations that boutique guys are intentionally doing with wood choices and geometry and electronics
We did have other Fenders and simpler basses at that time and of course the Fodera and F beat them all in most departments even the acoustic tone except for simplicity and familiarity
I have a put together P that I got after I sold my MIA P. Somehow even though I have active 6 and E-C single cut, this bass with chromes is no slouch for chordal work even though it is limited in range. Somehow there is an ease when playing it. Yeah I need to change the pickups , but the neck is surprisingly easy to navigate and yeah it is slow past the heel compare to the other 2 but it is completely functional and is hardy an impediment to creativity,
If it matters no pun intended, I hear Y'all and your opinion does matter, I may not agree on it from reading typed words but I probably will IRL.
One of the former employees of Fodera who helped them set up their Plek machines lives in Albuquerque, in fact he gtre up here. He laso workef for G&L. I almost bought a guitar from him but bailed. He know works for the government or a contractor something like that. He has a few Fodera prototypes but best not to talk about it but let me just say if you think what they sell is complicated and fancy, what he showed me blows those.
My good friend up north who has gifted me some gear has 2 Foderas 5 string fretted and fretless. I do have say that his F-Basses sounds and plays better .
But in terms of a singular great tone, he has a 70's P bass that has been artsyfied ( my term ) with some paintings on the body blew me away. I believe it was a Fender precision neck and electronics are all stock. And this is after playing his high end basses. The passive or center detent settings on those basses -- all they had on them was more gain but gain matched, this jazz bass was just the right balance and tone. I can't explain why ,
The moment you sculpted a tone out of the Foderas and Fs with their superb active EQ - you just know that they are going through an EQ when you listen t this jazz bass Maybe because it is familiar or what, I am not sure. I think this is the case of less is more,
My luthier friend explained it to me that it is an interplay of damping and resonance and sometimes these simple Fender guitars and basses just hit those combinations that boutique guys are intentionally doing with wood choices and geometry and electronics
We did have other Fenders and simpler basses at that time and of course the Fodera and F beat them all in most departments even the acoustic tone except for simplicity and familiarity
I have a put together P that I got after I sold my MIA P. Somehow even though I have active 6 and E-C single cut, this bass with chromes is no slouch for chordal work even though it is limited in range. Somehow there is an ease when playing it. Yeah I need to change the pickups , but the neck is surprisingly easy to navigate and yeah it is slow past the heel compare to the other 2 but it is completely functional and is hardy an impediment to creativity,
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